Condolences to the fans of Linkin Park who are grieving the death of their frontman Chester Bennington.
Whatever you think of the band, when Hybrid Theory was released in 2000, it was a BFD.
We sold many copies of this, and their subsequent albums, mainly to young dudes.
The music that inspires us when we are young is really special, and this band inspired a lot of people.
Lana Del Rey: Lust for Life
Lana Del Rey music has been noted for it’s cinematic style, it’s preoccupation with themes of tragic romance and melancholia, and it’s references to pop culture, particularly 1950s and 1960s Americana. Features the single Lust For Life with the Weekend.
Foster The People: Sacred Hearts Club
the band describes Sacred Hearts Club as a “beat-driven, groove-driven record” with a “psychedelic, ’60s influence.”
Tyler, The Creator: Flower Boy
Tyler, The Creator has his fourth full-length album, Flower Boy. It includes recently released tracks ‘Who Dat Boy’ featuring A$AP Rocky and ‘911/Mr. Lonely’ featuring Frank Ocean.
Damian Jr. Gong Marley: Stony Hill
The album features new singles “Medication”, “Roar” & “Speak Life”. Upcoming media & TV appearances being locked in leading into release week. Marley’s previous album GRAMMY-Award winning Welcome To Jamrock is certified RIAA Gold, and won Best Reggae Album and Best Urban/Alternative Performance at the 2006 GRAMMYS.
Chris Robinson Brotherhood: Barefoot in the Head
The 10-track effort, self-produced by the band, marks a third collection of new material in only two years time. For the fourth year in a row, The CRB will play over 120 shows with summer tour dates already announced and fall tour dates to be released shortly. – If their stellar new album, ‘Barefoot In The Head,’ is any indication, freedom suits the Chris Robinson Brotherhood well. The band is in the midst of one of their most prolific periods to date, with a slew of studio and live records coming out amidst a rigorous tour schedule that only seems to fuel their fire even further. ‘Barefoot In The Head’ finds the band pushing boundaries and breaking new ground with more joy and wonder than ever before. The album showcases the continued growth of Robinson’s songwriting partnership with his bandmates (guitarist Neal Casal, drummer Tony Leone, keyboardist Adam MacDougall, and bassist Jeff Hill), while reveling in the kind of playful adventurousness that can only come from five artists tuned in to the same sonic wavelength.
Goldfinger: The Knife
Goldfinger has become a household name in the punk/ska community since their mid 90s inception. With 6 full-length albums under their belt, they have charted in the Billboard Top 200, their self-titled debut album went gold, and have been featured in several films and video games. Nine years after their last release, 2008’s “Hello Destiny…”, fans will be thrilled that Goldfinger are back with “The Knife” and will be eager to scoop this record on release day. “The Knife” includes 13 catchy, energetic tracks that showcase the evolution of Goldfinger. With a list of highly notable special guests, including Blink-182’s Mark Hoppus and Travis Barker, Twenty One Pilots’ Josh Dun, Mighty Mighty Boss Tones’ Nate Albert and ONE OK ROCK’s Takahiro Moriuchi among many others, this album is sure to attract existing fans, as well as new listeners. To promote the album, the band will be playing select dates of the Vans Warped Tour this summer. Prepare for the Goldfinger revolution, because “The Knife” is exactly what punk and ska fans have been waiting for.
Nicole Atkins: Goodnight Rhonda Lee
Internationally acclaimed American musician Nicole Atkins is a rare artist whose timeless songwriting and raw, emotional voice spans the ages – a miasma of faded glamour and nostalgic pop noir. Goodnight Rhonda Lee, the 4th studio album from Nicole Atkins, was produced by the team at Niles City Sound (Leon Bridges) in Fort Worth, Texas and mixed by Ben Tanner (Alabama Shakes) in Muscle Shoals, Alabama. Co-writers on the record include Chris Isaak and Jim Sclavunos (Nick Cave & the Bad Seeds).
Mr. Big: Defying Gravity
DEFYING GRAVITY deftly showcases that patented MR. BIG blend of crunch and melody, from the freight-train ride of opening cut “Open Your Eyes” to the harmony-laden wonderment of “Damn I’m in Love Again” to the grateful/wistful nostalgia of “1992” (recalling the days when the band was flying high atop the singles charts with their international #1 smash “To Be With You”) to the barnburning slide-blues closer, “Be Kind.” Overall, DEFYING GRAVITY is prime evidence that the only thing MR. BIG remains tethered to is their ongoing pursuit of achieving creative excellence. Original members Eric Martin (singer) (lead vocals), Paul Gilbert (guitars), Billy Sheehan (bass) and Pat Torpey (drums) reunited with producer Kevin Elson (who was behind the boards for the band’s 1989 self-titled debut, 1991’s LEAN INTO IT and 1993’s BUMP AHEAD) for an intensive six-day recording session in Los Angeles. While Torpey was unable to perform some of the songs on DEFYING GRAVITY due to a recent diagnosis of Parkinson’s disease, Matt Starr has been filling in for him on a majority of the album. Starr also been touring with the band for the past couple of years, with Torpey able to play a couple of songs at each stop. DVD that features music videos and a behind-the-scenes look at making the new album.
“No Legitimacy Jokes.”
LIVE MUSIC Saturday July 15, 2pm-ish
Reverend Freakchild & Mudbone
(a.k.a. Billy, Bhoomisparsha, Fordham, Sal Paradise, Swaraj, Floyd Graves)
In the tradition of such Blues Reverends as Rev. Gary Davis – such is the irreverent Reverend Freakchild. Like John Hammond Jr. he is a student of the Blues. He has played in many bands including an early incarnation of Soul Coughing with M. Doughty leaving to form the roots rock jam band Bananafish in Boston and then on to some work with The Neptune Ensemble, The Soul Miners (w/ guitar virtuoso Matt Rae), The Lucky Devils and The Cosmic All-Stars touring internationally. The Rev. spent 3 years off-off-off Broadway singing blues and spirituals on Sundays at Tobacco Road, the now defunct NYC hippie hangout replete with drug addicts, hookers and music freaks. The Rev. has also served as a member and featured soloist of the Metro Mass Gospel Choir performing at such venues as Carnegie Hall, Avery Fischer Hall and the Town Hall Theater. The Rev’s music has been featured in many TV programs and commercials, and also national radio advertising campaigns. He grew up in Hawaii, holds a degree in philosophy and religion from Northeastern University in Boston and now currently resides in Colorado pursuing a Master of Divinity Degree at Naropa University. He continues to perform and preach saying, “Music is my religion. Through song I seek transcendence!”
Mudbone tells the story of American music one song at a time. His performances reach a broad audience by taking them on a journey from the late 19th century when bluegrass met the blues, through the country, soul, funk, and rock & roll of the 20th century.
He was born near the Black River in Northeast Arkansas. That river is the dividing line between the Mississippi River Delta and the foothills of the Ozark Mountains. The eastern banks were a playground for the blues. It is the cradle of the blues, and home to some of the world’s finest bluesmen. The western banks were an education in old-time country, bluegrass and mountain music. Tiny isolated pockets, within the Ozark Mountain hollows, offered an array of different mountain sounds and stories.
Waxahatchee: Out In The Storm
Out In The Storm, Katie Crutchfield’s fourth album as Waxahatchee and her second release with Merge, is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out In The Storm is a self-reflective anchor in the story of both her songwriting and her life. As Crutchfield prepared for the release of her Merge debut Ivy Tripp, she found herself depleted emotionally and professionally amidst the dissolution of a noxious relationship. “Ivy Tripp doesn’t really have any resolution. It’s a lot of beating around the bush, and superficially trying to see my life clearly, but just barely scratching the surface. Out In The Storm digs into what I was going through without blinking. It’s a very honest record about a time in which I was not honest with myself.” The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, a producer, recording engineer, and mixer known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. And Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date.
Offa Rex: The Queen of Hearts
The Queen of Hearts is the debut album from Offa Rex, an adventurous project featuring English singer/multi-instrumentalist Olivia Chaney and The Decemberists. Produced and recorded by Tucker Martine (Modest Mouse, My Morning Jacket, Neko Case) and Colin Meloy at Martine’s studio in Portland, OR, the album draws largely on traditional English-Irish-Scottish repertoire to create a transatlantic musical conversation that flirts with psychedelia and folk rock while maintaining it’s own inimitable identity.
Charles Lloyd Quartet: Passin’ Thru
NEA Jazz Master saxophonist and musical truth-seeker Charles Lloyd reconvenes his remarkable New Quartet with pianist Jason Moran, bassist Reuben Rogers, and drummer Eric Harland and takes us on another mystical journey with this live recording of Lloyd’s original compositions. Passin’ Thru is his third release on the Blue Note Records label – Wild Man Dance and I Long To See You. He had spent the previous 25 years recording for the ECM label. Though he primarily plays tenor saxophone and flute, Charles Lloyd has occasionally recorded on other reed instruments, including alto saxophone and the Hungarian tárogató.
Nick Lowe: 2 Reissues
~Nick the Knife is a 1982 album by Nick Lowe. The album was Lowe’s third solo LP, and his first since the 1981 breakup of his band Rockpile. However, the record still has several Rockpile ties, as Lowe’s former bandmates Billy Bremner and Terry Williams play on the album. In addition, Lowe does a slowed-down remake of the Rockpile song “Heart”; the original version can be found on the band’s album Seconds of Pleasure sung by Bremner.
~Abominable Showman was recorded with his post-Rockpile touring band Noise to Go. Following the blueprint of Rockpile, the band also featured a second lead vocalist in erstwhile Ace frontman Paul Carrack and had been featured on the Lowe-produced Carrack album Suburban Voodoo (as well as on this album s duet Wish You Were Here). This unit could play hard driving rock & roll and soulful pop music, all in evidence here from the opener (and concert favorite) Raging Eyes to the full on pop-soul of Time Wounds All Heels. And the band barnstormed the USA opening for the likes of The Cars and Tom Petty & the Heartbreakers which yields the bonus EP of live tracks from Cleveland s Agora.
Yoko Ono: 3 Reissues
~What you hear on Fly is Yoko Ono’s disarming combination of opacity and visceral, personal transparency in full bloom. It’s one of the most unbridled, most captivating soul albums ever made. And that’s right where she wants you: vulnerable, wide open to any-and-everything, ready to have your world tipped onto it’s head. She’s a master of spinning your head around. First, you get the Bar Band from Hell of “Midsummer New York” to kick things off. It’s about the last thing you’d expect from Ono coming off Plastic Ono Band. But here you are, listening to Ono channeling Elvis. Why am I all of a sudden bopping along to it? At 16-minute-plus, the tranced-out, motorik-inspired boogie “Mind Train” is rough-and-ready for your next basement get down. Movement and perspiration required. Then, we have the absolutely gutting blues of “Don’t Worry, Kyoko (Mummy’s Only Looking For Her Hand in The Snow).” Full of ache and raw emotion, the song is a love note, a plea for forgiveness, to her estranged daughter Kyoko shot across the universe on a flaming arrow. Ono follows this stampede of emotion with the self-referential torch song “Mrs. Lennon,” a wounded song that gets right into the Universal Loneliness. And so here you are. You’re devastated. You’re exhausted. You’re exhilarated. And you’re only 1/4 of the way up the mountain that is Fly. Dig deep, traveler, it’s worth the climb.
~There’s a fury at the core of Yoko Ono’s 1973 rock opus Approximately Infinite Universe that was not apparent on previously recorded efforts. Ono has always been a master of turning pain and sadness into art, but here, there’s a clenched-fist intensity that sets it apart in her deep, unparalleled catalogue. Ono is angry. She proved that one can carry a boundless love for humanity and still be furious – furious at male/female relationships, at war, at your partner. Meanwhile, on a sonic level, Ono ups the ante on the more centered rock-n-roll sounds she approached with 1971’s Fly. The album is one of the most traditional-sounding rock chapters in Ono’s sprawling catalogue. There are moments here that absolutely rival Jersey legends the E Street Band ever dared tread. Approximately Infinite Universe is an essential and progressive piece of Ono’s output, both in the advancements she made as a songwriter/conceptualist, and as a solidified statement of her staunch feminist role within the very male-dominated mainstream rock ghetto of the mid-1970’s.
~Feeling the Space is Yoko Ono’s fourth solo album, her last one on Apple Records and her last release of the 1970s. (A fifth album, A Story, would be recorded in 1974, but not released until 1997). The entire album adopts a feminist theme, focusing on the plights of women in the 1970s. It’s liner notes parody adult advertising, giving the telephone numbers, birthdates and vital statistics of the male band members. (John Lennon appears as “John O’Cean”, with his number listed as “Not for Sale”).
“We might end up with a President The Rock, and a Senator Kid Rock.
A pillow fort feels like the only sane response.”
Jay Z: 4:44
Jay-Z’s new 4:44 album has everybody going crazy, and now there’s audio of Hov breaking every song on the album down. The new LP was played across over 160 iHeart Radio stations in the U.S. at midnight, and in addition to the album being played on national radio, Jay also gave insight to each track. “Kill Jay-Z” “The first song is called ‘Kill Jay-Z’ and obviously, it’s not to be taken literal. It’s really about the ego. It’s about killing off the ego, so we can have this conversation in a place of vulnerability and honesty.” “The Story of OJ” “‘The Story of OJ’ is really a song about we as a culture, having a plan, how we’re gonna push this forward. We all make money, and then we all lose money, as artists especially. But how, when you have some type of success, to transform that into something bigger.” “Smile” “‘Smile’ is just what it is. There are gonna be bad times, and those bad times can do two things: they can get you in a place where you’re stuck in a rut, or it can make your future that much better because you’ve experienced these things.” “Caught The Eye” “‘Caught The Eye’ is a song that’s dealing with just being aware of your surroundings. There’s a line in it, and it says, ‘Your body language is all remedial, how could you see the difference between you and I?’ Just being so sharp about your surroundings.” “4:44″ “‘4:44′ is a song that I wrote, and it’s the crux of the album, just right in the middle of the album. And I woke up, literally, at 4:44 in the morning, 4:44 AM, to write this song. So it became the title of the album and everything. It’s the title track because it’s such a powerful song, and I just believe one of the best songs I’ve ever written.” “Family Feud” “‘Family Feud’ is about separation within the culture. Like, new rappers fighting with old rappers, saying all these things. So, the line is, ‘Nobody wins when the family feuds.'” “Bam” “The song ‘Bam’ with Damian Marley it’s just jammin’, it’s just like the song. But it’s secretly Shawn Carter saying, ‘Man, you need a bit of ego.’ It was because of me and the things that I’ve done, this is Jay-Z saying you needed a bit of ego for us to arrive at this point.” “Moonlight” “The hook is ‘We stuck in La La Land/Even if we win, we gonna lose.’ It’s like a subtle nod to La La Land winning the Oscar, and then having to give it to Moonlight. It’s really a commentary on the culture and where we’re going.” “Marcy Me” “‘Marcy Me’ is a nostalgic walk through Marcy, and it’s about that hopefulness, that feeling of ‘Man, can I really do this? Can I really be one of the biggest artists in the world?’ You have these dreams, ‘Can I be one of the biggest basketball players?’ We have these dreams.” “Legacy” “The song is just about what it is, it’s like a verbal will. Just a song about speaking to my daughter. She starts the song off, and she says ‘Daddy, what’s a will?’
Snoop Dogg: Neva Left
Snoop Dogg, a veritable living legend who has a classic discography that has garnered himself multi-platinum sales, Grammy nominations, critical acclaim and more is releasing his new project, “Neva Left”. Perhaps more recently known as a pop icon, Snoop reminds us that he has Neva Left and hits us with 16 hard-hitting tracks plus a CD only bonus track that features the likes of Too $hort, Redman, Method Man, Wiz Khalifa, KRS-One, K Camp, and more.
Radiohead: OKNOTOK 1997-2017
remastered and expanded 20th Anniversary two CD edition. Rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage… OKNOTOK features the original OK Computer twelve track album, eight B-sides, and the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man Of War.” The original studio recordings of these three previously unreleased and long sought after OK Computer era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes. OK Computer was originally released on various dates ranging from May to July 1997. Produced by the band and Nigel Godrich, the album is widely cited as one of the greatest works of Radiohead’s-or any artist’s-catalogue and was the first Radiohead record to reach #1 in the UK and to be be nominated for the Album of the Year Grammy. The album features singles “Paranoid Android,” “Karma Police,” “Lucky” and “No Surprises.” In 2015, The National Recording Registry selected OK COMPUTER to be preserved in the Library of Congress as a recording that has proven “culturally, historically, or aesthetically significant.”
Haim: Something To Tell You
the highly anticipated sophomore album from HAIM. When the time came to record the eleven tracks that make up Something To Tell You, HAIM decided to “go in and record as a band, keeping it a little more organic. That was kind of a mission statement for the album” offered Danielle HAIM. Includes the singles ‘Want You Back’ and ‘Right Now’. HAIM consists of three sisters: Este HAIM (bass), Danielle HAIM (guitars and lead vocals), and Alana HAIM (guitars and keyboards), as well as drummer Dash Hutton. In addition to their primary instruments, each member is also proficient in several others. The group’s pop sound on their studio work stands in contrast to the more rock-based music of their live shows.
the seventh album from the Polish metal band. The opening track on Anticult, has an ominous voice to it. The clean guitar motif feels dangerous, as if warning in a language unfamiliar that the world before us will soon not be the same. Certainly, trail-blazing masterpiece “Impulse” is the harbinger of change. The ceaseless assault of riffs, drums, bass, and vocals-expertly delivered by guitarist Waclaw ‘Vogg’ Kieltyka, drummer Michal Lysejko, bassist Hubert Wiecek, and vocalist Rafał ‘Rasta’ Piotrowski-is unlike anything before it. But “Impulse” is more than the sum of it’s parts. Between Vogg’s monstrous volleys and Rasta’s brutal existentialist barks, there’s something else in the mix. Not just Decapitated’s penchant for building tension by continually winding up and layering upon themes either. That’s a trademark harkening all the back to 2000’s classically-inspired Winds of Creation full-length. On “Impulse” (and definitely throughout the rest of Anticult), Decapitated weave in thrusts of brightness. Turns out, Anticult was designed-with an almost devil may care attitude-that way from the start. While Blood Mantra may’ve taken Decapitated all over the world, exposed hordes of new fans to the Poles, and opened a few new doors, the Krosno-based quartet are confident Anticult will raise their profile even more, allowing Decapitated to tour with just about anybody. It’s got the songs. Tracks like “Impulse”, “One Eye Nation”, and “Never” are guaranteed to hook fans from any genre of metal.
Broken Social Scene: Hug of Thunder
Hug Of Thunder marks the fifth studio album from Canadian alt-rock supergroup Broken Social Scene, their first in seven years. Hug Of Thunder was produced by Joe Chiccarelli (White Stripes, Spoon, The Strokes) with Nyles Spencer, and mixed by Shawn Everett (Alabama Shakes, Weezer). Founded in ’99 by Kevin Drew and Brendan Canning, the album features 17 players and 15 original members including Emily Haines and Jimmy Shaw of Metric, Amy Millan and Evan Cranley of Stars, Charles Spearin and Ohad Benchetrit of Do Make Say Think, and Grammy-nominated Leslie Feist. Hug Of Thunder is everything BSS fans love from the Canadian collective and then some, an album overflowing with glorious open chords, multi-voice harmonies, spacious psychedelia-tinted breakdowns, and more. It is a panoramic, expansive album that manages to be both epic and intimate; and like all things BSS, in troubled times, it offers a serotonin rush of positivity. Since their inception in the early Aughts, BSS have always pushed sonic boundaries while remaining reverent of a perfect chorus; almost twenty years down the line, Hug Of Thunder sharpens that balance and then some. The record’s twelve songs refract the band’s varying emotions, methods, and techniques in ways that not only reference their other albums, but surpass them. Hug Of Thunder is righteous but warm, angry but loving, melodic but uncompromising. And if you’ve ever fallen in love with Broken Social Scene – as many of us have – it is a perfect return that was truly worth the wait.
Toro y Moi: Boo Boo
After 7 years of touring and recording, I found myself becoming self conscious about my position in life as a “famous” person, or at least my version of whatever that is. My dreams had become my reality, yet I was somehow unable to accept this new environment. I couldn’t help but fall into what might be described as an identity crisis. A feedback loop of fearful thoughts left me feeling confused. I felt as though I no longer knew what it was that I actually wanted and needed in and out of life, and at times I felt unable to even tell what was real. During this time of personal turmoil, I turned to music as a form of therapy, and it helped me cope with the pain that I was feeling. I’d listen to the same ambient song over and over again, trying to insulate myself from reality. I fell in love with space again. By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward. The artists that were influencing what I was making included everyone from Travis Scott to Daft Punk, Frank Ocean to Oneohtrix Point Never, Kashif and Gigi Masin. I recognized that the common thread between these artists was their attention to a feeling of space, or lack thereof. I decided that I wanted to make a Pop record with these ideas in mind. That idea for a record is what eventually became Boo Boo.
Randall Bramblett : Juke Joint at the Edge of the World
“Plan B,” the opening track from Juke Joint at the Edge of the World, the 11th album by songwriter and multi-instrumentalist Randall Bramblett, serves as a kind of anthemic hub that the rest of the record turns on. Its distorted drum loop, syncopated dubwise bassline, and reggae rhythms meeting jump blues with fuzzed-out electric piano and filthy electric guitars deliver a narrative about being broken down in the middle of nowhere with only a half pint for company in an empty bus station. Bramblett’s response to his troubles: “Might be a fool but at least I’m free/That’s why they love me, I got no Plan B.” This set was cut with his road band, whose members have done their share of steamy Southern nights in clubs in out-of-the-way places, and it unfolds accordingly. Nine of these ten songs are tales of people and places in marginal and often risky circumstances. The musical approach is lean, mean, and greasy. Bramblett’s group gets that, rocking and focusing on attack and sharpness rather than nuance. The band stays away from studio slickness, preferring murk and atmosphere. Check the grimy, sweaty, funky blues of “Pot Hole on Main Street,” the rambling second-line funk of “Garbage Man,” the chord-drenched R&B of “Fine.” Bramblett’s lyrics in these tunes are full of wonderfully seedy imagery as they celebrate the seamy side of life. But this set is not just drunken late-night party jams; there are some wonderfully strange surprises for balance. “Trippy Little Thing” is where psychedelia, funk-blues, and African rhythms swirl in a night vision. The single “I Just Don’t Have the Time” is a Chicago-styled blues strut with a half-rapped lyric full of wit, irony, and sarcasm worthy of both Mose Allison and Ben Sidran. The droning, slightly psychedelized ballad “Since You’re Gone” is one of the most moving things Bramblett’s ever written; its imagery and delivery are every bit as evocative as Tom Waits. “Mali Katra” is Afro-funk soldered onto Middle Eastern modalism framing wiry guitar rock, jazz keyboards, and a poetic lyric. The lone cover is a ragged, shuffling, gutbucket read of Beck’s “Devil’s Haircut.” Double-timed snares, fat swinging horns, and wonky organ underscore the tune’s instantly recognizable guitar riff — which is pushed to surf overdrive here. Bramblett’s vocal performance equates the meaning in these lyrics with his own “Plan B,” making the two tunes seem like perverse companions. Juke Joint at the Edge of the World extends the direction pursued on 2015’s Devil Music, but it’s more consistent and less indulgent and frenetic, while simultaneously being more loose and musically adventurous. This is Bramblett and band doing nothing more than getting good songs across with the grit and immediacy they would get in a club — and that’s plenty.
Steve Vai: Modern Primitive
This 13 track album is the 7th installment in the Secret Jewel Box and will be highly sought after from Steve Vai fans all over the world. There are only several thousand copies of this record are being made which makes this an instant collectors item! This version of Modern Primitive package has been modified specifically as a collectors item for the Steve Vai Secret Jewel Box